Sean P Carlin

Writer of things that go bump in the night

Tag: House of Cards

Collapse of the Tentpole: Why Hollywood’s Grim Summer Is Good News for the Rest of Us

Hope springs eternal—and by that I mean it was just this past spring I was lamenting Hollywood’s hopeless addiction to nostalgic, twentieth-century brands, from superheroes to Star Wars, and its incorrigible aversion to original genre works in favor of endless sequels and remakes (I will not cave to social pressure by calling them “reboots” just to assuage the egos of filmmakers too precious to be considered slumming with the likes of—heaven forbid—a remake).  And yet…

And yet what a difference a summer can make.  Let’s review the scorecard, shall we?

Batman v Superman took a critical beating (to say the least) and, despite sizable box-office returns, underperformed to expectations, an inauspicious opening salvo in Warners’ would-be mega-franchise (and something tells me, no matter how tepid the public response, they’re not going to take “no” for an answer on this one).  The follow-up, Suicide Squad, performed well even if it didn’t fare any better critically, though one could argue both movies actually did the health of the budding cinematic universe more harm than good in that they tarnished the integrity, such as it is, of the brand; DC is thus far not enjoying Marvel’s critical or popular cachet.  And you don’t build an ongoing franchise playing only to the base.

Other expensive underperformers:  Warcraft; X-Men:  Apocalypse; Teenage Mutant Ninja Turtles:  Out of the Shadows; Neighbors 2:  Sorority Rising; Star Trek BeyondJason Bourne opened well but suffered a steep second-week drop-off—it had no “legs,” in box-office parlance.

Who ya gonna call to exterminate the "ghosts" of a previous generation haunting the multiplex?

Who ya gonna call to exterminate the “ghosts” of a previous generation haunting the multiplex?

Plenty of other “surefire” sequels outright bombed:  Alice Through the Looking Glass, Ghostbusters (not a sequel, but it was promoted as one), The Huntsman:  Winter’s War, Zoolander 2, Independence Day:  Resurgence, and The Divergent Series:  Allegiant, the last of which has resulted in a particularly embarrassing—and unprecedented—predicament for its studio, Lionsgate, which, following in the footsteps of previous YA adaptations Harry Potter, Twilight, and The Hunger Games, unnecessarily split the last movie into two parts, and now they’re stuck with a commitment to a final sequel (or half of one, anyway) without an audience anticipating its release.

Continue reading

Pop-Culture Digest: Musings on Annalise Keating, Postnarrativity, and “Twilight”

Readers of this blog (I trust I’m not being quixotically presumptuous by my use of the plural form) have come to expect in-depth, long-form essays here, but today I’d like to try something different:  I thought I’d offer brief commentary on three unrelated pop-cultural developments that are directly relevant to articles I posted this past summer.

 

MURDER!

In my analysis of the first season of How to Get Away with Murder, I concluded by asserting that series creator Peter Nowalk left himself little choice but to reconfigure protagonist Annalise Keating’s psychological profile (yet again) on account of how carelessly he exhausted her backstory in the initial fifteen-episode run.  And, boy, he did not waste any time proving me correct.

Right in the season premiere, we learned (via one of several clunky pieces of exposition) that Annalise has a “wild-child” side (who knew?), and later we saw her partying the night away under the strobe lights of a dance club—with her students, no less!

No, sorry—that doesn’t play.  Here’s why:  It is a complete violation of one of her core traits (and a defense mechanism, at that)—“publicly composed and guarded.”

Continue reading

Considering the Evidence: A Preliminary Ruling on Annalise Keating

Were you paying close attention for clues during last night’s anticipated series premiere of How to Get Away with Murder?  Did you manage to catch writer/creator Peter Nowalk’s object lesson in the simple art of murder?

It was easy enough to overlook.  After all, Nowalk skillfully introduced multiple characters and mysteries in short order, creating—and holding his viewers in—the kind of edge-of-your-seat suspense that is the hallmark of the Whydunit genre (so modified from “Whodunit” because who, per Blake Snyder, is merely a conventional formality and ephemeral revelation—it’s the why that gives us the lasting insight into the dark side of human nature we crave from these stories).  But, for students of the craft of screenwriting, consider yourself enrolled in How to Create a Fertile, Provocative Premise 101.

Continue reading

Sleight of Hand: The Deceptive Hero of “House of Cards”

Caught myself up on the first season of House of Cards this past weekend.  I know, I know.  But, better late than never, right?  After all, isn’t that the advantage of on-demand viewing?  Nowadays, a good series is always available to be discovered.

There are shows that I tune into and consciously try to like, and then there are those that win me over midway through their pilot episode without any premeditated cooperation on my part.  House of Cards falls squarely in the latter category.  It’s a classic Institutionalized story, which Blake Snyder defines as any tale about the “crazy” or self-destructive group dynamics of an institution—in this case, Congress.  Washington is well-represented in political television drama at present, but I certainly haven’t seen a series in which power plays are an end unto themselves:  The movers and shakers that populate House of Cards make no attempt to justify their self-serving agendas with hollow allegiances of fealty to the Republic.  And protagonist Frank Underwood’s stylized, Shakespearean asides to camera—a tough trick to pull off (Kevin Spacey makes it look so natural, hence his consecutive Emmy nominations for the first two seasons)—lend an intimacy that endears the audience to a character with which we might not otherwise be predisposed to empathize.  (He works for Congress, after all, and have you seen their approval numbers of late?)  Like most serialized protagonists, Frank is comprised of five key traits; I’m eager to get on with the second season, so let’s take a quick look at them:

Continue reading

© 2017 Sean P Carlin

Theme by Anders NorenUp ↑